voiced by kelly marie tran, to walk on the wild side as the whole plot careens unevenly toward a banana field showdown with weaponised punch monkeys. really. it s hardly classic fare, with all the bestjokes aimed at the adults, leaving the kids to gawp at the often spectacular visuals while mum and dad laugh wryly at the social satire and retro pop references. but there s fun to be had amid all the chaos, even if you ll struggle to remember much about the film, which is in cinemas now, five minutes after it s finished. that s it for this week. thanks for watching the film review. stay safe, and i ll see you next week. my little sister. my little sister, she bites a lot. and my dad doesn t even know about this one. whoa, peanut toe! hello. saturday saw the warmest
my name s eep. .. ..and we re the world s first family, the croods. he groans. another glorious morning. i ll leave you with news of a new age, the belated sequel to 2013 s prehistoric animation the croods. venturing out into the world in search of their tomorrow, the caveman crood family find themselves face to face with the future in the form of the bettermans. as cultures class, so changes occur, with ryan reynolds s guy sporting a man bun and nicholas cage s grug learns about man caves and bro bonding. come on, thunk, we re going outside. i don t want to, i m watching birds! in my day, we didn t stare at birds, we fought them! j let me live my life! meanwhile, emma stone s eep teaches the bettermans daughter, dawn, voiced by kelly marie tran, to walk on the wild side, as the whole plot careens unevenly toward a banana field showdown with weaponised punch
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Review
Daddy’s Home by St Vincent is a superb tribute to the dirty, sly heart of New York
4/5
Album number six by the US art-pop queen pays tribute to her own father and a wild cast of characters from a raucous 1970s dream
14 May 2021 • 5:00am
Daddy s Home is the sixth album by Annie Clark, whose stage name is St Vincent
Credit: Handout
Annie Clark is no saint. The 38-year-old American art-pop multi-instrumentalist took her stage name not in honour of a canonised paragon but in reference to the death of the dissolute Irish poet Brendan Behan in St Vincent’s Hospital in Dublin in 1964. Her sixth album, Daddy’s Home, conjures up a sleazy New York funk-rock street odyssey, sprawling with the kind of disreputable characters to whom Behan himself, a lover of New York, would have gladly raised a glass.